With a very
little history of the evolution of graphic design and the techniques
of the decoration of leather."....binding developed
as a craft, one which has endured to this day. Over the years
as books proliferated the need for bookbinding increased; the
invention of printing provided a new impetus to the craft. The
earliest printed books were issued by their printers in unbound
sheets; those who purchased them arranged to have them bound
according to their individual requirements and taste.1"
"...The 16th century bibliophile
Jean Grolier,vicomte d'aquisy. of Lyons, was first
to develop a special style of designs individual to himself.
Although Jean Grolier is regarded correctly as a French bibliophile,
the bindings executed for him were essentially Italian in their
principles of design. Grolier possessed one of the finest private
libraries of his time (and
possibly any other time), consisting of some 3,000 volumes contained
within bindings of superlative richness and beauty. Grolier lived
in Italy, with only a few interruptions, between 1510 and about
1525, and, while there, became the friend of the celebrated printer,
Aldus Manutius. It is said that in appreciation of Grolier's
friendship and financial assistance, Aldus printed several copies
on vellum or large paper for Grolier, several of which were dedicated
to him. Grolier is believed to have patronized several binders
over the years he collected, including Claude de Picques,
and the so-called fleur-de-lis and cupid's bow binders. The books
which Grolier acquired in his early years (including many of
his Aldine volumes) possess the distinguishing characteristics
of Italian binding of the time he lived in Italy. The Grolier
bindings, the designs of which have been imitated more than those
of any other style, with the possible exception of the pointillé
bindings, are usually classified into two distinct groups: 1)
those executed expressly for him; and 2) those bound before he
acquired them either through purchase or gift. Although the bindings
executed for Grolier are distinctly similar in style, they vary
considerably in their ornamentation. The designs generally consist
of a geometrical pattern, occasionally colored, combined with
arabesque work, which is solid, azured, or only outlined. On
some of his bindings, however, the geometrical pattern has no
arabesques, while in others the arabesque work is found without
the geometrical design. Nearly all of the books of the first
class, as well as many of those of the second, include the altruistic
inscription, lo. Grolierii et Amicorvm (of Jean Grolier and his
friends), usually at the tail edge of the upper cover, which
he apparently borrowed from his contemporary, Mahieu.
Both covers of most of Grolier's bindings feature a central compartment,
usually containing the title of the book on the upper cover,
and the expression Portia Mea, Domine, Sit in Terra Vivetivm
(Let my portion, O Lord. be in the land of the living), on the
lower cover. Other legends also at times appear on his bindings.
Grolier's signature, or his motto, with several slight variations,
is frequently found in his own hand inside the books he collected
before about 1536. This was usually written at the back. There
are two distinct features to Grolier's bindings which were not
consistently practiced by other contemporary collectors: 1) the
pastedowns are vellum, followed by two conjugate white paper
flyleaves, which are followed by a vellum leaf conjugate with
the pastedown, which is followed by a final conjugate pair of
paper leaves; and 2) the edges are gilt but not gauffered or
otherwise further embellished."* Many examples of his work
still exist, and his name is perpetuated by many 
societies of the present day.
Since his day, binders of great repute have been more or less
numerous, and various styles of bindings have been originated
and are known by the names of such men as Le Gascon, Derome
(Seven generations of Deromes were binders for 100 years. Nicolas-Denis
was the best known member of the family), the Brothers Eve,
Jansen (These bindings only had lettering on the outside
of the cover, but had elaborately tooled doublures), "Padeloup,
le jeune,was probably the outstanding craftsman of a distinguished
family that was associated with the craft for more than 150 years.
Padeloup was apprenticed to his father, Michel (c 1654-1725),
and probably became a master bookbinder in about 1712. More commonly
known as Padeloupe "le jeune," he was appointed royal
binder to Louis XV in 1733, succeeding Luc Antoine Boyet. Padeloup
was esteemed both
for the solidity of his forwarding and the embellishment of his
bindings. He had an eclectic taste and most of his bindings displayed
several diverse styles of ornamentation mingled together. Padeloup
often decorated his books with DENTELLE (lace-work) borders,
and has even been credited by some with the introduction of this
border, although there is no real proof of this. He also executed,
but with less success, several bindings with onlaid work in different
colored leathers. Although these mosaics were well executed,
the tile like design of many of them is considered by some authorities
to be too feeble. He is also credited with the introduction of
the "repetition" design. Some of Padeloup's bindings
are in imitation of the work of Florimond Badier , sometimes
repeating the silver-threaded headbands of that period. Padeloup
was also one of the first binders to "sign" his bindings,
by means of a ticket bearing his name and address."* Roger
Payne in England (His designs, made up of a few small tools
he cut himself, are splendidly simple. He is also well known
for his elaborately detailed bills). During this formative period,
leather was not as universally used as it is to-day, many bindings
being made of wood, silver, velvet, cloth of gold and embroideries
on various materials. Of the modern French school, we need only
mention a few names such as Trautz, ChambolleDuru,
Gruel, Lortic, Marius-Michel, Ruban,
and in England, Bedford, Zaehnsdorf's (The firm
was run by three generations of Zaehnsdorfs from 1842 until ca.
1945), Riviere (did a very large business in well executed
bindings, many retrospective, but some with fine designs.) and
Cobden-Sanderson ([1840-1922] influential in the Arts
and Crafts movement. His designs were floral. "Cobden-Sanderson's
binding had a highly beneficial influence on the binding of his
day. To a certain extent, he started bookbinding on a path away
from the situation in which the vast majority of bookbinders
seem unable or unwilling to consider new approaches, except within
the narrow limits of accepted methods. His influence on his contemporaries
was considerable, and it is not unreasonable to maintain that
his influence is being felt to this day. Cobden-Sanderson gave
up his own bindery in 1893 to establish the Doves Bindery, originally
for the purpose of binding the publications of William Morris'
Kelmscott Press."* ...Aside from those mentioned, there
are of course hosts of others, some of equal repute, as well
as many who hope to achieve fame.
Neo Classicism imitative of classical antiquity (Hellenistic/
Roman), was much favored at the new 
imperial court of Napoleon
in the early nineteenth century, in France became "Empire"
in England "Regency" and with american motifs
"Federal". Featuring laurels, laurel lines,
and Greek keys, it was a style that did not suffer from understatement.
Neo-classicism is described by Craig as "wiry, linear, rigid,
precise elegant but not genial". It was influenced by the
architects, James Stuart and Robert Adams in England. The style
has remained popular to the present day, and it has a particularly
rich look and is used today a good deal, on books of military
history, and laudatory text or awards. 
Mosaic...
Bookbindings decorated by inlaying or onlaying small pieces of
leather of various colors to form patterns. The technique is
particularly associatedwith the work of the 19th century French
bookbinders, Antoine Michel Padeloup, Louis Francois,
and Jean Le Monier. This form of decoration has been used
for a considerable length of time; examples of mosaics of inlaid
leather, while extremely rare, date back to the 16th century.
Painted mosaics consist of geometrical interlacings filled with
a colored and varnished incrustation, with borders of gold lines.
Very brilliant when first executed, the composition in time cracks
and peels off, thus damaging the line work of gold encircling
it.Repetition mosaic bindings remained popular into the 20th
century.
Romantic... The western world, 19th century, particularly
popular in the 1830's to 1860's. A very curly, ornate style,
relatively restrained on fine leather bindings, but served as
the basis of the exuberant design on cloth bindings of the period.
Art Nouveau.....Pictorial
bindings with colored onlays or paintings, including the lettering
as a design element. Decorative floral designs were the most
popular.
Art Deco ... Paris,
1917 to ca. 1940 Mostly geometric forms. Characterized by the
use of unusual materials: snakeskin, sharkskin, lacquered eggshell,
metal plates, etc.Reflecting the sleekness of modern technology,
Art Déco first became popular in the 1920's and 1930's,
and enjoyed a resurgence in the 1970's. Art Déco bindings
utilize gold lines, and multihued geometric inlays & onlays
to produce the characteristic"streamlined" effect..
Asymmetrical...
In the twentieth century parralleling the Modern School in
other arts.
*From Bookbinding and the Conservation of Books, A Dictionary of Descriptive Terminology, Matt T. Roberts and Don Etherington
many excerpts taken from the following sources in a less than scholarly fashion:
ABC of Bookbinding by Jane Greenfield , Oak Knoll Press, 1998
Art Nouveau and Art Deco Bookbinding, Duncan & DeBartha, Abrams, 1989
Book Bindings: Historical & Decorative, Maggs Bros., 1927
Bookbindings by John P. Harthan, Her Majesty's Stationary Office, 1961
Bookbinding in America 1680-1910, William Spawn, Bryn Mawr, 1983
Bookbinding and the Conservation of Books, Roberts and Etherington, Library of Congress, 1982
Bookbinding in France by W. Y. Fletcher, F.S.A., Seeley and Co. 1895
Fine Bindings 1500-1700 from Oxford Library, Bodleian Library, Oxford, 1968
The History of Bookbinding 525 - 1950 A.D., Dorothy Miner, Trustees of the Walter Art Gallery, 1957
Royal English Bookbindings, by Cyril Davenport, F.S.A., Seeley and Co., 1896
1, Excerpts from FREDERICK R. GOFF Honorary Consultant in Early Printed Books Library of Congress.